![]() In most of her novels, middle-class women in contemporary India strive to overcome societal limitations imposed by patriarchy. society, women are regarded as mere “objects” and “others.” As a leading figure of the twentieth century Indo-Anglican fiction, Anita Desai holds a vision of feminism that addresses the confrontation of women against patriarchal oppression. In these societies, men treat women as servants and use tools of patriarchy to silence their voices, although they contribute equally, and sometimes more substantially, to the development of a nation where their contributions are not duly acknowledged. Patriarchal societies in many respects, as history witnesses, sideline women and consider them inferior to men. ![]() The reader is provided with a balanced overview of the evolution and current state of a long-standing, rich tradition of historical, political and literary scholarship. The volume takes an innovative approach to the major themes predominating within the utopian and dystopian literary tradition, including feminism, romance and ecology, and explores in detail the vexed question of the purportedly ‘western’ nature of the concept of utopia. Chapters address the difficult definition of the concept of utopia, and consider its relation to science fiction and other literary genres. This Companion presents an extensive historical survey of the development of utopianism, from the publication of Utopia to today's dark and despairing tendency towards dystopian pessimism, epitomised by works such as George Orwell's Nineteen Eighty-Four and Margaret Atwood's The Handmaid's Tale. Since the publication of Thomas More's genre-defining work Utopia in 1516, the field of utopian literature has evolved into an ever-expanding domain. The past, bringing alternative narratives to the public and instigating debates and discourses around Gukurahundi. (hereafter referred to as Talita Koum) as one instance of a cultural public sphere’s ability to give a voice to those who have lost theirs such as the survivors and their children in a manner that unsettles In this article, I examine Victory Siyanqoba’s Talitha Koum-Someone Lied! ![]() It is considered ‘alternative’ because it contests the official ‘moment of madness’ (GAIDZANWA, 2015) government meta-narrative. Out of the firsthand narratives from Gukurahundi emerging through various platforms, an ‘alternative’ narrative is beginning to infect public opinion and discourse. While some survivors of the holding camps and Gukurahundi brutality have over the years shared their experiences with family members, Upon the deployment of the 5th Brigade in Matabeleland and some parts of Midlands, the government of the day closed-off media access to these areas, banning access to journalists without formal permission. Unconfirmed genocide of the Ndebele minority. Gukurahundi refers to the 1983-1987 period in Zimbabwean history characterised by an Resistance during Gukurahundi was virtually impossible especially in holding camps such as Bhalagwe and Matopo. Using three short stories by Sibanda (Grace, The Service, and Death by a Cell Phone), this article explores this dislocation, metaphorical and real, highlighting the plight of young people from Matabeleland who are either caught up in this utopian world or long to escape to a dystopian modern world. ![]() This article argues that the characters' (and by extension Sibanda's) dislocation and breaking away from the traditional life and places that he creates for them, instigate a dystopian longing for a new life, one that is a conglomeration of history and time. Drawing on various utopian spatial theoretical perspectives, this article examines the significance of Sibanda's creative overlay of his spatial ambivalence to his rural Matabeleland home on the relationship(s) his characters have with their spaces, creating a utopian landscape. Writing from Johannesburg, Bongani Sibanda ambivalently locates and dislocates his characters from the literary places and space he creates for them. When these diaspora-based Zimbabweans "visit" or literarly represent their rural villages, disparate spatial metaphors emerge. The dire socio-political and economic landscape in Zimbabwe has forced many Zimbabweans, young and old, to relocate to various and different diasporic locations.
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